NO PLAYS EXCHANGED. 



PS 3523 
.1943 
D5 
1900 
Copy 1 



^MER'3 Coition 

m or Pl7\y:5 



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DIFFERENCE IN CLOCKS 




COPVrtiG+HT, 1889. BY WALT tn H. BAKE.R & CO 



tk, W. PINERO'S PLAYS. I 

yAiL Uniformly Bound in Stiff Paper Covers, ijv 

JAv Price, 50 cents each. ylC 

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The publication of the plays of this popular author, made feasible by the new ^l^ 

Copyright Act, under which his valuable stage rights can be fully protected, /iv 

enai)les us to offer to amateur actors a series of modern pieces of the highest '" 

t class, all of which have met Avith distinguished success in the leading English ifAV 

,,. and American theatres, and most of which are singularly well adapted for ama- ^f* 

iiV teur performance. This publication was originally intended for the benefit of ilAW 

'I* readers only, but the increasing demand for the plays for acting purposes has ^XS 

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fss — — Has 



TWF AMA701\r^ A Farcical Romance in Three Acts. By Arthur 
1 r\C. rviVirvz^ WlNJ> | ^^y^ Pkneko. Seven male and five female char- 

— — ^ ^ acters. Costumes, modern; scenery, an exterior 

and an iiiterior, not at all difficult. This admirable farce is too well known ^|^ 
through its recent performance by the Lvceum Theatre Conipany, New York, to Mf 

sv 



\k'g need description. It is especially recommended to young ladies' schools and 

Mf colleges. (1805.) 

\y THE CABINET MINISTER. I l,,S;^f v^"pSh„.^t?u ,n?>l M/ 

Wljl ! ' and nine female characters, ^k'd 

Mr Costumes, modern society ; scenery, three interiors. A very amusing piece, in- Mr 

^lif genious ill constructiui , and brilliant in dialogue. (1892.) ^k'4 

^^ DAN"DY DTO<" I ^^ Farce in Three Acts. By. Arthur W. Pisero. Mf 

k|^ i-'z-vi'<«j^ X j^iVrfX-^* Seven male, four female characters. Costumes, mod- ^k'd 

Mr ' ern ; scenery, two interiors. This very amusing piece Mr 

fkk'A was another success in the New York and Boston theatres, and has been ex- ^k'g 

Mr tensiveiy played from manuscript by amateurs, for whom it is in every respect Mr 

^k'd suited. It provides an unusualnumber of capital character parts, is very funny, ^k'£ 

Mr and an excellent acting piece. Plays two hours and a half. (1893.) Mr 

i^'S THF HORRV HOR^sF I a Comedy in Three Acts. By Arthir ^A'm 

Mf i^rilL n^^DDX riKjr^^XL*] w. Pineko. Ten male, live female char- Mf 






actei's. Scenery, two interiors and an ex 
terior ; costunies, modern. This piece is best known in this country thr 
admirable performance of Mr. fjohn Hare, who produced it in all the 
cities, its story presents a clever gatire of false philanthropy, and 
interest and humor. Well adapted for amateurs, by whom it has been success' 
fully acted. Plays two hours and a half. (1892.) 



ind an ex- ^|*| 

rough the \|f 

prim-ipal ^k'^ 

is full of Mf 



?K LADY ROTTTSTTTFITT I ^ P^^y ^ Four Acts. By Arthur W. W 

W ^^^ PWUIN 1 irUi^« I pi^ERO. Eight male and seven female chal-- iU 

?K — — 1 acters. Costumes, modern ; scenery, four W 

yta interiors, not easy. A play of powerful sympathetic interest, % little sombre in Mi 

'I. i^«y, but not unrelieved by humorous touches. (1892.) ;!' 

W vf 



A DiiFerence in Clocks 



A Sketch in One Scene 



By Ethel Livingston 



BOSTON 

WALTER H. BAKER & CO 

1900 



L.H>rary of Congress 
Two Cf>Pit£ RECEIVED 

C&iyrigh* entry. 



TWO COPIES KtCElVE. 

Library of Cebgr«s% 
Qffleo cf tbi 



lie- 



64436 



MAY 2 11900 

liter cf Ccpfpig 

l2^ • ^^, ^/^^ 



Hcglttcr cf Ccpfpiglfft 



^mm COPY. 

Delivwed t(^ 

ORDER OlVISlO^i , 

A Diiierence m Clocks 



JUL 3 I90U 



CHARACTERS 






-i^' 



v<=\ 



Miss Maria, spinster. 
Joshua Stebbins, bachelor. 



Joshua should be played as a slow deliberate man with a 
slight drawl. Miss Maria, quick and excitable. 

COSTUMES, IN CHARACTER. 




Copyright, 1900, by Walter H. Baker & Co. 



A Difference In Clocks, 



SCENE. — An old-fashioned sitting-room ; open fi^'e r., kettle 
over fire, mantel with clock and niirror. Table l., set ivith 
cloth and one or two dishes. Door c. Doors l. and r. 
Old-fashioned dresser with dishes l. of c. door. Hat-tree 
R. of c. door. Easy chair front of fire. Rocking-chair c. 
Fumbling with key at door heard ontside. 

Enter Miss Maria dressed in old-fashioned dress, bonnet^ 
shawl, gloves, etc., laden with bundles. 

Miss Maria {out of breath, putting key under clock on 
mantel'). Thar ! I'll jest put thet key under the clock so's not 
to fergit it. {Hurriedly takes off outside wraps.) My, but 
I'm late ! Most six o'clock, and Joshuvvay alius comes to tea 
at six prompt. {Puts on white apron, peeps into kettle over 
fire, scurries back and forth from dresser to table, setting 
table with dishes, talking all the time.) Ef Joshuway 
Stebbins ain't the most persistent man alive. He's bin comin' 
to tea ev'ry Friday night reg'lar for the last thirty years. I 
s'pose I'd bin Mrs. Stebbins by this time ef we could only 
agree 'bout one blessed thing. But we can't, though we hev 
tried so many years. Mercy me ! {Rushes out door l. , and 
returns with potatoes in covered dish in one hand and sausages 
in covered dish in the other.) Law's sakes ! But I nearly fer- 
got them pertaties and sassage. {Sui'veying table with appar- 
ent satisfaction.) Thar ! I guess ev'rything's ready all but 
puttin' on the tea, and I shan't do thet till I hear him comin'. 
{Knock at door.) Law me ! Thar he is now. {Rushing 
wildly from fire to table and back again, and finally puttiw^ tea 
on table and vibrating between glass and door, putting touches 
to curls, necktie, apron, etc., while the knocking at the c. door 
grows louder and more impatient.) Thar 1 Thar ! I'm 



4 A DIFFERENCE IN CLOCKS. 

comin'. I'm comin'. Bless the man ! He's dretful impa- 
tient ! 

{^Opeiis c. door. Joshua enters, cap, coat, muffler, mittens, 
etc.) 

Joshua. Evenin', Mis' Maria. Thought I should be late, 
fer my watch said six jest as I reached the top of meetin' -house 
hill. (^Bloius finders, stamps feet, removes outside wrappings 
and approaches fire with evident relish. Holding out hands 
to the blaze.') It's so cold I jest about run all the Avay. 

Miss M. {takes hat, etc. , and hangs them up carefully on hat- 
tree). Yes, I know it. I most froze my nose off jest goin' 
down to Aunt Sarah's. But, Joshuway, it ain't but two min- 
nits to six now. 

Joshua. Your clock must be slow, Mis' Maria, 'cause I 
cert' inly looked at my watch. 

Miss M. {bustling about, putting final touches to table). 
Now, Joshuway, you know my clock keeps the best time of 
anybody's in the village, and your watch is alius fast. I s'pose 
it's the comp'ny it keeps. {Snickers at her owjtjoke.) 

Joshua {goes to clock, takes out watch and compares them 
earnestly). Wal, Mis' Maria, I've carried thet watch nigh 
onto thirty years, and I jest know it Avouldn't go back on me 
now. Your clock 

Miss M. {excitedly). My clock's all right; it belonged to 
grandfather, and don't I wind it up ev'ry night reg'lar and give 
it a little shake and 

Joshua {contemptuously). Huh ! A woman don't know how 
to take care of a clock, anyhow. This watch I wind up ev'ry 
night at nine o'clock exact, and I alius hang the key right back 
on the watch chain soon's I git through. 

Miss M. {with aft appare7it effort). Well, well, set down 
and have some supper anyway. I know my clock's right, but 
never mind. 

{They both sit at table, Joshua facing clock.) 

Joshua. Now I know my watch's right, but as you say, 
never mind. 

Miss M. Here's your tea, Joshuway. Don't give me sech 
a big pertater. That'll do, thank ye. 

{They help each other to the various dishes. Joshua eats 
for a moment in silence, and then rises abruptly, pushes 



A DIFFERENCE IN CLOCKS. 5 

chair back, takes out bi<^ bandanna handkerchief and 
throws it over the face of the clock ; then takes large old- 
fashioned timepiece from pocket and leans it against clock, 
resumes seat in silence, and with a sigh of relief begins 
to eat again. Maria during the proceeding has sat bolt 
upright with knife and fork held straight up, mouth open, 
staring at Joshua.) 

Miss M, Joshuway Stebbins, — be you crazy? 
Joshua {mouth full). I couldn't set thar any longer with 
thet clock a-starin' me in the face, a-tellin' lies ev'ry minnit. 

(Miss M. gives a sniff of disdain. A short silence ensues. 
Joshua might pour tea into saucer and blow it.) 

Joshua. I heerd some talk down to the store 'bout Elder 
Nevvcombe's family bein' so poor. 

Miss M. Poor ! Why it's nothin' but closeness, thet's 
what 'tis. Elder Newcombe he's close as the varnish to wood, 
and they do say thet his family hev cornbread made out oi saw- 
dust ev'ry mornin' for breakfast. 

Joshua. Is — thet — so ? Wal, I swan. Have some more 
sassage ? 

Miss M. No, thank ye, I guess not. I hed some tea down 
to Aunt Sarah's. You know. Aunt Sarah's as lively as a 
cricket fer all her eighty odd years. 

Joshua. Eighty odd ! Why, she's ninety, ef she's a day. 

Miss M. She ain't either. She was jest eighty-seven her 
last birthday, which came on the day thet the speckled hen 
fell into the brook and you fished her out. Don't you remem- 
ber how I wropped her up in a flannel petticoat and set her in 
front of the fire, so's she wouldn't ketch cold ? 

Joshua. He — he — he. Yes, I remember thet — but Aunt 
Sarah's ninety jest the same. {Emphatic nod of head.) 

Miss M. (angrily). Well, I guess I know how old my own 
aunt is, Joshuway 

Joshua. I can't help thet, but I know thet she's ninety — 
but let's not argy. 

Miss M, I'm not argyin', but ain't thar a single thing thet 
you kin talk about, Joshuway Stebbins, without contradictin' 
me? 

{Durino; the above discussion they have pushed back from 
the table and are now standing facing each other.) 



6 A DIFFERENCE IN CLOCKS. 

Joshua {sloivly 7vith an effort^. I — don't — know's — thar 
— is, but {Lon^ pause.) 

Miss M. {impatiently). Wal, — but 

Joshua (bashfully, fitting toe into imaginary crack and cast- 
ing a sheepish glance at Miss Maria). But — but — but you 
know, Mis' Maria, Aunt Sarah' d hev bin my aunt too, ef you'd 
seen fit to say what I wanted yer to years ago and 

Miss M. Now, you know, Joshuway, thet I said I'd never 
change my mind till we could agree better'n we do now. 

Joshua. I know, I know, but thet was thirty years ago and 
Tve bin tryin' and tryin' to agree ever sence but you won't 
agree at all. 

Miss M. Why, Joshuway, F d agree all right but you jest 
won't. As soon's I say anything then you turn round and say 
jest the opposite, so how kin I agree ? 

Joshua. You know I don't, Maria. I agree alius but you 
don't. 

Miss M„ How kin you say thet? / alius agree with ev'ry- 
body, unless they disagree with me. 

Joshua {Jieatedly). I — I — I (^Pause.^ Thar you go 

agin, Maria ! Let's talk about something else. 

Miss M. Well, I'd like to talk 'bout something we kin 
agree on. (^Aside.) Ef thar's anything on this airth thet we 
kin. 

Joshua (^sits in front of fire'). It's awful cold out, Maria. 

Miss M. (^begins to clear off table, puts things on tray ready 
to carry out). Yes, but 'tain't so cold as I've known it to be 
this time of year. 

Joshua. Wal, I don't know. They were sayin' down to 
the store thet 'twas colder for November than it hed bin for 
twenty years. 

Miss M. O, no, 'tain't. Why, last year 'bout this time 
'twas colder than this. 

Joshua (rises). Why, Mis' Maria, last year 'bout this time 
I wore my single mittens, and now already I've got on my 
doubles. 

Miss M. {quickly). Well, I hain't carried my hot soapstun 
to church yit, and I know I did last year by this time. 

Joshua. You hed a cold last year and it 7nay have seemed 
colder to you, but 'twan't, really. 

Miss M. (picks up tray of dishes and departs, saying as she 
does so). I'll take these dishes out in the kitchen, and p'raps 
by thet time you'll feel better; but ' tivas colder all the same. 



A DIFFERENCE IN CLOCKS. 7 

( Goes out L. , closes door with bang. Joshua hurries after her.) 

Joshua (^loudly). It is colder 7iow. (^Looks blankly at the 
closed door for a moment, then resumes seat by fire with a 
sigh, shaking head dolefully.) Too bad ! Too bad ! Thet 
Mis' Maria should hev. such a temper. Such a nice woman, 
too ! Nobody kin beat her biscuits, and as for her whaffles — 
m-m-m ! Seem 's queer she should be so disagreein'. (Slowly.) 
She said ef we'd jest agree once she'd take me — but thet was 
nigh onto thirty years ago, and we hevn't agreed once, yit. 
{Looks about.) Strange she doesn't come back. (^Catches 
sight of clock on mantel.) Thar's thet lyin' old clock. I'll 
jest set it forrard two minutes, and then Mis' Maria' 11 think 
she made a mistake, p'raps we'll agree once. {Sets hands of 
clock forward two minu-tes, as he speaks, and stops clock with- 
out knowing it.) Thar ! Now I guess I'll go out into the 
kitchen and hunt her up. Guess I'll take my watch. 

{Takes watch from i7iantel, stumbles over rug, lays watch on 
table, goes back to straighten rug and then goes out \.., for- 
getting watch.) 

Miss M. enters from r., carrying knitting ; she speaks as she 

enters. 

Miss M. I went upstairs to git my knittin', so I came down 
the front stairs, and jest as I got — why, he ain't here ! He 
ain't gone home, for thar's his hat. Bless the man ! I hope 
he ain't fallen into the fire. {Pokes fire ; looks toward table ; 
sees Joshua's watch, which he has forgotten.) He ain't taken 
his watch, anyway. {Takes it up and shakes it.) The pesky 
thing ! I'll jest set it back two minnits, and then Joshua'U 
think he made a mistake. {Gets carving knife, while speak- 
ijig, and with much pursing of mouth and nodding of head, 
laboriously opens watch and fixes hands.) Thar ! {Listens.) 
Goodness gracious ! Here he comes now. {Drops watch on 
floor, picks it up hastily, throws it down on table, hurries to 
rocking-chair c, takes knitting and begins to knit, counting 
stitches, as Joshua enters l. She is apparently unaware of his 
entrance.) One, two, three, four, five, six 

Joshua {aside, seeing watch on table, putting it in his pocket 
without looking at it). Guess I'll take my watch. {Aloud, 
dropping into chair 7iear fire.) I was jest lookin' for you out 
in the kitchen, Mis' Maria. 

Miss M. {starting). Gracious, Joshuway, how you did 



8 A DIFFERENCE IN CLOCKS. 

Startle me — made me drop a stitch. Thought I'd git my knit- 
tin', so's we could hev a good talk. What'd you hear down 
to the store to-day? 

Joshua. Mrs. Twombley has fell down her stairs and broke 
her arm. 

Miss M. (^dropping knitting). Dew tell ! I alius said she'd 
fall on thet ragged old carpet. But thar ! Mr. Twombley he 
don't care so long's he kin set by the fire and smoke. 

Joshua (gleans forward, says mysteriously'). And they do 
say thet they called in thet new doctor — thet young feller who's 
jest moved to town. 

Miss M. Is thet so? Why, they alius used to hev old Dr. 
Brown. {^Knits vigorously for a moment in silence^ while Joshua 
turns first one boot to the fire and then the other. Then drops 
knitting in lap, draws chair foot nearer Joshua and leans for - 
ward.) Now, why do you s'pose they changed doctors? 

Joshua. Didn't you know, Mis' Maria, thet young Dr. 
Andrew's wife is Mrs. Twombley's sister's husband's half 
brother's second wife's cousin? 

Miss M. (gleans back, purses up mouth, nods head while she 
apparently tells off the relations to herself, then getting it fixed 
to her liking she beams upon Joshua). Why, yes, I didn't 
know 'twas so near. 

Joshua. Besides Dr. Brown's gittin' purty old to doctor, 
anyway. 

Miss M. (resumes knitting). He ain't more than seventy- 
nine, and I declare I think he's the best doctor I ever see. 

Joshua. Hm — m — m. Wal, I'd enuff sight ruther hev a 
younger man, anyway. 

Miss M. (regarding him with a look of indignation). You 
kin hev who you want to, but as for me, I don't think much 
of a little young whipper snapper of a man \\\.q your doctor, 

Joshua (with growing excitement). You needn't, but I 
guess I know whether I want to be killed or 

Miss M. Thet's jest it, thet's jest it. J don't want to be 
killed. 

Joshua. But you will be ef you keep on with a man who 
can't see and 

Miss M. (crushingly). Well, it's ray own business whether 
I git killed or not. 

Joshua (ndw has risen by this time ; excitedly). I — I — 

I ( Controls himself with great effort, sits down and looks 

at fire.) I shouldn't wonder ef we had a fall of snow to-morrer. 



A DIFFERENCE IN CLOCKS. g 

■ Miss M. {glances at him over her spectacles). It does seem 
to hev grown chilly. 

Joshua. It must be gittin' late; guess I'd better be goin' 
toward home. {Takes out watch, looks at it, jumps up.') Land 
of Liberty ! It's stopped. 

Miss M. {uneasily). What's stopped ? 

Joshua (inournfully). My watch, thet I've carried most 
thirty years. My father give it to me when I was gittin' 
growed up, and it's kep' good time ever sence, till now it's 
stopped. 

Miss M. (aside). It must hev stopped when I dropped it. 
I can't tell him thet. {Aloud.) Don't feel so, Joshuway. You 
can set it agin by my clock. 

Joshua. But your clock's two minutes slow. {Happens to 
think he has changed it.) O, so I kin. {Goes to clock, looks 
at it, starts, adjusts spectacles, looks again, listens, then turns 
slowly.) I swan. Mis' Maria, your clock's stopped too. 

Miss M. {gasps). My clock ! {Rushes to it.) Why, thet 
clock ain't stopped sence grandfather left it to me. 

Joshua {aside, rubbiiig chin). I must hev stopped it when 
I put it forrard. We'd never agree ef I should tell her thet. 

( Goes to clock, shakes it, lays his watch on mantel while ke 
does so.) 

Miss M. {taking out capacious handkerchief^. I — ^jest — 
can't — stand — it. 

{Lays her head on mantel and sobs. In putting out her 
hand to steady herself she touches Joshua's watch, looks 
at it at first carelessly, then more intently and then ear- 
nestly compares it with clock. When she took out her 
handkerchief, Joshua walked to c. and from there has 
been regarding her uneasily. Sees her comparing watch 
and clock arid says.) 

Joshua. What's the matter, Mis' Maria? 

Miss M. Matter ! Matter ! Why, Joshuway Stebbins, these 
two timepieces hev stopped at exactly the same time. Do — 
you — s'pose — it' s — a — warnin' ? 

Joshua {laughs uneasily). Warnin' ? No, of course not. 
What should it be a warnin' of? {Aside.) Wonder ef I'd 
better tell her. 

Miss M. It may be a sign of sudden death. {Shakes head 
dolefully,) I shall feel most dretful anxious 'bout this time to- 



10 A DIFFERENCE IN CLOCKS. 

morrer night. {Aside.) Would it do to tell him what I've 
done? But jest because I put his watch back two minnits 
wouldn't hev stopped 'em both at the same time. {Aloud?) 
Yes, it must be a warnin'. 

(Joshua sits by fire staring at it dismally, while Miss M. 
sits in rocking-chair c. shaking head nwurnfully.') 

Miss M. I've heard tell thet a clock often stops when its 
owner's goin' to die. {Pause ; sniffs.) Do you s'pose we'll 
both die at the same time? {Pause ; s?iiffs.) Your lot in the 
cemetery ain't fur from mine. {Pause; sniffs.) V^q might h^ 
buried at the same time. 

( Weeps in handkerchief, Joshua holds his to his face and 
peeps out, to watch Miss Maria, furtively now and then. 
Long pause only interrupted by sobs from Miss Maria.) 

Miss M. {after wiping her eyes, chokes down her sobs and 
says brokenly). It's best to look sech things in the face, and 
I've bin thinkin', Joshuway, thet p'raps I've bin to blame con- 
sid'able in our disagreein'. 

Joshua {not to be outdone in generosity). No, no. Mis* 
Maria. / was most to blame and — and 

Miss M. And, Joshuway, I've bin thinkin' too thet it 
wouldn't do any harm ef we should be buried on the same lot. 
{More mournfully .) And {sobs) and — {sobs) and we might 
hev some sort of an inscription like this — "Though divided in 
life they were not separated in death." 

{Pause, durijig which Miss Maria sobs in handkerchief and 
Joshua gazes in fire ; he suddenly starts, smiles, rises and 
goes to Miss Maria saying as he does so.) 

Joshua. Why, Mis' Maria, thar ain't nobody goin' to die. 
Our clocks stopped jest the same time to show us thet we'd 
better agree before it's too late. I guess it means we'd better 
hev a weddin' 'stead of a funeral. ( With a comfortable 
chuckle.) Seems to me 'twould be a heap pleasanter to be 
married than buried. What do you think, Mis' Maria? 

Miss M. {regarding Joshua loith undisguised amazement). 
Joshuway Stebbins — I — believe — you — air — right. 

Joshua. Right, of course, I'm right. Ain't your time- 
piece agreein' and so why shouldn't we? 

Miss M. I do believe thar's a providence in it and {slowly) 
of course, 'tain't in the nater of things for a human bein' to hold 



A DIFFERENCE IN CLOCKS. II 

out agin providence, still — we might be mistakin' the 
vvarnin' 

Joshua. Wal, Mis' Maria, I think I'd orter tell you thet I 
tried to set your clock forrard, and you see it's stopped ; now, 
I ain't providence, and 

Miss M. You did ? Joshuway Stebbins, I set your watch back, 

and then I heard you comin' so I dropped it and Why ! 

You and me's the only providence in this matter. {Angrily,^ 
Siill, I do think, Joshuway, you might hev left my clock alone, 

Joshua. Wal, Mis' Maria, you might hev left my watch 
alone, the watch my father gave me. 

Miss M. You tetched my clock fust — the clock thet be- 
longed to my grandfather, and I can't fergit how I felt when I 
thought I was goin' to die. (^Impressively.') So we hevn't 
agreed once yit. 

Joshua {slowly). No — but — {hopefully) — but we may yit. 
I'll come again next Friday night. {Takes coal, hat, puts 
them on, goes to c. door.) Good-night, Mis' Maria, 

Miss M. Good-night, Joshuway. {Follows him to door, 
holds lighted candle high above her head to light him out.) 
Take care of the ice on the steps. Good-night. 

{Closes door, sighs, puts knitting away, turns out light, and 
fi7ially sits in rocking-chair front of fire. An oldfash- 
ioned melody such as '■^ Auld Lang Syne'' could be played 
softly until fall of curtain.) 

Miss M. P'raps I've been to blame all this time. Joshu- 
way's good and he's kind and folks say thar ain't an honester 
man about than Joshuway Stebbins. {Rises quickly, lights 
candle, goes to door r.) I'll jest see what time 'tis by the clock in 
the hall. {Goes out r., returns to clock on mantel, takes key and 
ivinds clock ; sets hands carefully, saying as she does so.) I'll 
set this clock one minnit forrard of the other, and then it'll be 
givin' in half to Joshuway. I really couldn't give in the //////. 
Thar ! {Leaves lighted candle on mantel, sits in rocking-chair 
by fire.) I'm sorry I argyed with him. I'd orter told him I 
was sorry. Sometimes, I think 

{Pause, during which' she rocks quietly and gazes into fire, 
c. door opens softly; Joshua's head appears. Then he 
tiptoes in, coughs gently. Miss Maria turns, sees him, and 
rises.) 



12 A DIFFEREN'CE IN CLOCKS. 

Joshua {bashfully^. Mis' Maria, it was so cold goin' down 
meed n' -house hill, and I felt lonely and— and — I thought I'd 
come back and — and — tell you I was sorry — and 

Miss M. {quickiy). Well, Joshuway, I'm sorry too, and I 
was jest wishin' I'd told you so while I hed the chance. I'm 
most to blame and 

Joshua {interrupting). No, I am and I come back to tell 
you so and to tell you thet I stepped into Mr. Twombley's 
house on my way down the bill, and set my watch back one 
minnit so's to give in half to you. {Suddenly takes out watch.) 
I declare ef I won't give in the hull two minnits to you. 

Miss M. {with a gasp). Why, I've jest set mine one minnit 
forrard by the hall clock. 

(Joshua steps to mantel and compares clock and watch by 
the light of the one candle which remains lighted on shelf. ) 

Joshua {joyfully). Why, Maria, we hev agreed at last. 

{They clasp hands as curtain goes doivn.) 



Jki THF MAH-T^sTR ATF I ^ ^^^^^e in Three Acts. By Arthitu W. ^P 

yi^ 1 niL lVlAUi>^ 1 1^ A X r.« I p,j,,EKo. Twelve male, four female char- /|\ 

^C acters. Costumes, modern ; scenery, all ^i^ 

0m\ interior. The merits of this excellent and amusing piece, one of the mostpopu- /Am 

jiZ lar of its author's plays, are well attested hy long and repeated runs in the 'a: 

0m\ principal American theatres. It is of the highest class of dramatic writing, and /IV 

JkV '^ uproariously funny, and at tUe same time unexceptionable in tone. Its entire "aC 

/i\ suitability for amateur performance has been shown by hundreds of such pro- #lV 

jl: ductions from manuscript during the past three years. Plays two hours and %k 

/)\ a half. (1892.) ^j\ 



^{N THE NOTORIOUS 
<t> MRS. EBBSMITH 






A Drama in Four Acts. By Arthur W. /i^ 

PiNERO. Eight male and five female charac- * ■* 
ters; scenery, all interiors. This is a "prob- 
lem " play continuing the series to which •' The 
Profligate" and "The Second Mrs.Tanqueray" 

ifiV l^elong, and while strongly dramatic, and intensely interesting is not suited for iiw 

^f^ amateur performance. It is recommended for Heading (Jlubs. (1895.) ffj^ 

A TRF PROFT TriATF I A Play in Four Acts. By Arthur W. Pike- ^Y; 

/l\ in.IL r-rsvV-^rJ^l^/\lIL. jjo. seven male and five female characters. /A\ 

jiC ' Scenery, three interiors, rather elaborate ; ^v 

wm\ costumes, modern. This is a piece of serions interest, powerfully dramatic in #AV 

j[c moveuient, and tragic in its event. An admirable play, but not suited for ama- •*• 
fm\ teur perfoanance. (1892.) 



THE SECOND 
MRS. TANQUERAY* 



A Play in Four Acts. By Arthi'R W. 
Ptnero. Eight male and five femalechar- 
acters. Costumes, modern ; scenery, three 
interiors. This well-known and powerful 
play is not well suited for amateur per 



t 



rVS XMF ^r'T-TOOT MT^XPF^^ ( A Farce in Three Acts. ByARTnrR 

A\ A nn D^^nVJV^i^lVllO 1 I^JLOD* W. Pinkro. Nine male, seven fe- iiw 

ffy — —- — ^ 1 male characters. Costumes, mod- ^1^ 

/AV ^'"n ' scenery, three interiors, easily arranged. This ingenious and laughable iik 

r|3 farce Avas played by Miss Kosina Vokes during her last season in America with ^W 

great success. Its plot is amusing, its action rapid and full of incident, its dia- jui 

logue brilliant, and its scheme of character especially rich in quaint and humor- wV\ 

ous types. The Hon. VereQueckett and Peggy are especially strong. The piece >*v 

is in all respects suitable for amateurs. (1894.) 'm\ 



.., , vv 

\l# forniance. It is oifered to Mr. Piuero's admirers among the reading public in iTA^ 

^r answer to the demand which its wide discussion as an acted plav has cieated. Mr 

M> (1804.) Also in Cloth, $1.00. ^A^ 

^)/ <sWFFT T AVFMDFR I -^ Comedy in Three Acts. By Arthtr ^1/ 

W OWnni J^/lVniNl^rJ^. W. Pinero. seven male and fonr temale ™ 
\f/ ' (baracters. Scene, a single interior, the 






tTA^ same for all three acts; costumes, jnodern and fashionable. This well known 

\i/ and popular piece is admirably suited to amateur players, by whom it has been 

k'A'j often given during the last few years. Its story is strongly sympathetic, and its .*. 

\l# comedy-interest abundant and strong. (1893.) ml/ 

•!• XHF TTTVTFS I a comedy in Four Acts. By Arthur W. Ptxero. Six Vf 

\l/ xi.vj-i-«j« niale and seven female characters. Scene, a single ele- kAif 

"^ — — — ^— — _' gjj^j interior; costumes, modern and fashionable. An M/r 

\iJ entertaining piece, of strong dramatic interest and admirable satirical humor. kAif 

W (1892.) Mf 

}K THF WFAKFR <sF"5r I ^ Comedy in Three Acts. By Artitur JJ' 

yk4 lllC Wli/VCVC-IV OIW^ W. PiXERO. Eight male and eight female \U 

.V, • — ~~~~"^ — ~ — ' — ' characters. Costumes, modern : scenery, ?!' 

Vi# two interiors, not difficnlt. This vej-y amusing comedy was a popular feature of W# 

yj. the renertoire of Mr. and Mrs. Kendal in this country. It presents a plot of iV. 

%■/ strong dramatic interest, and its incidental satire of " "Woman's Rights" em- %l# 

^y. plovs some adinirably humorous characters, and inspires many very clever lines. ?K 

%l# Its leading characters are nnusually even in strength and prominence, which %IJ 



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NEW OPERETTAS 




016 235 793 



LIBRARY OF CONGRESS ^. 

EDITH'S ukEaM.I 

an ©pcretta far Cfjtltiren. J^|^ 

Words by MARGARET FEZANDIE and EDGAR MORETTE. /I\ 
Music by EUGENE FEZANDIE, Jr. /(^ 



Eleven characters, girls and boys, or all girls, as preferred ; ten or more addi- 
tional for chorus. Scenery unnecessary ; costumes, pretty and fanciful, hut 
easily arranged at home. This admirable little piece is printed complete with 
music. It is very tuneful and gracefully imagined, and is strongly recommended 
for private theatricals or for schools. It is particularly well suited for the latter 
use, as it deals whimsically with the question of youthful study, inculcating, 
however, an excellent moral. 



Price 



35 cents. 



ODD OPERASSEVEN TIDE. 

A Collection of Short and Simple Musical 
Entertainments for Children. 

By MRS. G. N. BORDMAN. 



This collection provides a simple operetta, a fairy opera, a picturesque motion 
song, a quaint musical pantomime, a pretty musical sketch, and two original 
humorous recitations for children, complete, with all the music, and full instruc- 
tions for performance. The music is tuneful and simple, and is specially written 
Avith the tastes and limitations of children in view. The solos are easily learned 
and sung, and all the choruses are written for voices in unison. The collection 
is strongly recommended for its simplicity and perfect practicability. Neither 
stage nor scenery is demanded, nor any other requirements that cannot be met 
without trouble by the equipment of the ordinary hall or church vestry, and the 
zeal of the most economical committee of arrangements. 



Price 



50 cents. 



A Glimpse of the Brownies. A 

M usical Sketch for Children. Any 
number of boys. 

Market Day. A n Operetta for Young 
People. Seven speaking parts and 
chorus. 



Queen Flora's Day Dream. An 

Operetta for Children. Six speak- 
ing parts and chorus. 



]s 

IS 
IS 
IS 

s 

i 

V 



CONTENTS. 

Tlie Boating Party. A Musical 
Sketch for Little Children. Thirty 
boys and girls. 

Six Little Orandniias. A Musical 
Pantomime for very Little Children. 
Six very little girls. 

Jimmy Crow. A Recitation for a 
Little Girl. 

A House in the Moon. A Recita- 
tion for a Child. 






